1. History of Typography
(History of Digital Font)
Robin Chin
November 7, 2006

2. What is “Typography?”
• The art and technique of printing
• The study and “process” of typefaces
– “Study”
•
•
•
•
Legibility or readability of typefaces and their layout
Attractiveness of typefaces and their layout
Functionality and effectiveness of typefaces and their layout
How a typeface/layout combo “enhances” or “honors” content
– “Process”
• Artistic composition of individual type
• Setting and arrangement of type
• Basic elements of “desktop publishing”
– Typeface
• A full set of type made to a particular design (size and style)
• A font

3. Some Typeface Examples
• Quick brown foxes jump - Times New Roman
• Quick brown foxes jump - Bookman Old Style
• Quick brown foxes jump - Courier New
• Quick brown foxes jump - Trebuchet MS
• Quick brown foxes jump - Comic Sans MS
  - Webdings

4. Typography and Print
• Typography is defined in relation to print
• History of (Western) printing
– Johannes Gutenberg
•
•
•
•
Europe’s first printer (42-line Bible, 1455)
First designer of typeface
Gothic type: modeled after German script
Goal: To replicate the look of a manuscript Bible
– Aldus Manutius
• Designed “Italic” type (“of Italy”) in the 1490s
• Modeled on handwriting of Venetian clerks
• Compact form allowed for printing of smaller books

5. Typography and Print
German
Script
Gothic
Type
Manutius’
Italic

6. Typography and Print:
Creating Type
Basic
letterform for
capital letters
Stone
Engravers’
Style:
As few curves
as possible

7. Typography and Print:
Creating Type
Geofroy Tory
•
•
•
16th Century French
Designer
Influenced by architecture
and the work of Leonardo
da Vinci
Designed his typeface on
the proportions of the
human body
“Anatomy of a letter” - Some terms eventually associated with the
(Not features of type design
potentialTory, but an example of a full set of typeface)

8. Typography and Print:
Creating Type
 Design of the typeface
 Creation of physical “type”




The
“form”
Type: (n.) piece of metal in which letter(s) are cast
Gutenberg’s innovation: movable, reusable type
See Robin Chin’s website on “Portability”
From physical type to printed page
{




The composing sticks: words formed, placed into sticks
The galley: sticks placed together, spaced apart
The chase: galley placed inside, wedges add margins
The form: inked, then placed in the printing press

9. Typography and Print:
Creating Type

10. Typography and Print:
The Power of Typography
• Theory: “Typography honors content”
• Related theory: typography honors industry and content
• Italics example: designed to fit business innovation
• Modernist theory: Typography as functional with content
• Modernist era: late 19th - early 20th century
• Political potential of (experimental) typography
• Different “rules” of typographic design - to encourage and
discourage certain values in the reading public
– Some political artistic groups of the time
• Futurist writers (Italy) - destruction is beautiful and necessary!
• Imagist poets (England) - the image itself is speech!
• Constructivists (Russia) - modernism is functionality!

11. Typography and Print:
The Power of Typography
• Typography takes an
• F.T. Marinetti
active Italian poet and founder of Futurism
– role in the content
– From Les mots en
• Visible as well as audibleliberté futuristes, 1919
• “I am
poetic elementstarting a typographic revolution, directed above
all against the idiotic, sick-making conception of the oldfashioned Poetry Book, with its hand-made paper, its
• Helped inspire later
sixteenth century style, decorated with galleons,
Minervas, Apollos,
modernist typographers to great initials …”
• “The book must
use strong contrasts in be the futuristic expression of our
futuristic thought.
type sizes and design, and Better: my revolution is against
among other things
new angles of typewhich is inthe so-called typographic harmony of
the page,
complete opposition to the style
which the page allows.”

12. Typography and Print:
The Power of Typography
• El Lissitzky
Sans-serif
– Russian constructivist and major artist of “new typography”
– “Topgraphy of Typography,” from the magazine Merz, 1922
• “On the printed page words are seen, not heard.”
Bold, basic colors of Expression - visual, not phonetic.”
• “Economy
• “The new book demands the new writer. Ink-pots and goosequills are dead.”
Use of photography
• “The printed page transcends time and space. The technology)
(new-ish printed
page, the infinity of the book, must be transcended. THE ELECTROLIBRARY.”
– Distinct break from old typography: total discarding of
decorative concepts and a turn to functional design

13. Typography and Print:
The Power of Typography
• Importance of “new typography” today
– A case where the form of printing adapted to fit the
conditions of modern life
– Declares that “form is not independent, but grows out
of function (purpose), out of the materials used
(organic or technical), and out of how they are used.”*
– Declares that clarity and not beauty is the essence of
typography
– Declares that asymmetry is generally more optically
effective than symmetry
* Jan Tschichold

14. Typography and Print:
The Power of Typography
• Importance of “new typography” today
– Considered blank space to be as much as a formal
element of typography as black type
– Continued to encourage standardization
– Blurred the line between “high art” and “mass media”
– Blurred the distinction between image and language
– Predicted the future importance of typographic design
to advertising

15. Typography Today
• Typography in the digital environment
– New process of typeface design
• computer programs vs. hand design and casting
– New possibilities for layout with the screen
• computer programs vs. galleys, etc.
– New elements of expression
• text and images
• sound and animation
• screen brightness and contrast
– New concept of materiality
• pixels vs. ink
• links, buttons, IP addresses

16. Digital Typography
• Some digitally adopted typefaces
– Times New Roman
• 1932, The Times of London Newspaper
– Bookman Old Style
• 1858, A.C. Phemister in Edinburgh, Scotland
– Courier New
•
•
•
•
1955, Howard Kettler
Designed as a typewriter face
Commissioned by IBM
Design as a monospaced font (hence easy to align as
columns of text) makes it a valuable typeface for coding

17. Digital Typography
• Some digitally created typefaces
– Trebuchet MS
• 1996, Microsoft typeface designed to be readable at small
sizes and at low resolutions
• Based on humanist sans serif typeface designs of the
1920s and 30s
– Comic Sans MS
• 1994 (developed), released as part of Windows 95 Plus!
Pack
• Based on the generic lettering style of comic strips
  (Webdings)
• 1997, designed in response to web designers’ need for
easy method of incorporating graphics in their pages

18. Conclusion:
Online Reading Practices
• Lesson from early history of print
– Typographic design is an essential issue in the printing
revolution and print culture
• Lesson from modernist typography
– “Form is not independent, but grows out of function
(purpose), out of the materials used (organic or technical),
and out of how they are used” - i.e. new reading practices
• Lesson from the development of digital fonts
– As the webpage borrows from the printed page, so digital
font has borrowed heavily from printed typefaces
– As the webpage develops further uses distinct from the
page, so grows the need to revisit typography, its history,
and its future

19. Conclusion:
Online Reading Practices
• Aesthetics and computing courses
– MAS 962: Digital Typography
• Records of digital typographic development
– Microsoft typography research group
• Digital typography programs
– Font-Lab
• Publications on digital typography
– Donald Knuth’s Digital Typography series

20. Some Printed Sources and
Resources
• Drucker, Johanna. The Visible Word: Experimental
Typography and Modern Art, 1901-1923 (Chicago:
University of Chicago Press, 1994).
• McGann, Jerome. The Visible Language of
Modernism (Princeton: Princeton University Press,
1993).
• Tschichold, Jan. The New Typography: A Handbook
for Modern Designers, trans. Ruari McLean
(Berkeley: University of California Press, 1995).